Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-09T10:23:09Z No. of bitstreams: 1 Neusa Regiane Mendes.pdf: 9425966 bytes, checksum: b240de0f41556fbb87c1ea45c018b676 (MD5) / Made available in DSpace on 2018-11-09T10:23:09Z (GMT). No. of bitstreams: 1 Neusa Regiane Mendes.pdf: 9425966 bytes, checksum: b240de0f41556fbb87c1ea45c018b676 (MD5) Previous issue date: 2018-08-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research consists of an investigation on the trajectory and the textual production of the physician Osório Cesar, pointed as the precursor of the studies about the connections between art and madness in Brazil. The analysis dialogue with researchers aimed to understanding the intellectual and political action of education’s field, considering the most recent developments in cultural history and political history. Methodologically, it privileged the rebuilding of the sociability network and the incursions of Osório Cesar as a researcher of the medical sciences, as a developer and disseminator of the funda-mental principles for the understanding between art and madness and art therapy; as child education enthusiastic, at the time, classified as abnormal child´s and as formulator and publisher of propositions and political ideas. The sources have been selected in the research were newspaper texts, journals and book articles produced by the author or by his collaborators and opponents, records of public archives (particularly, those produced under the auspices of the Political and Social Order Department); in addition to of the theses and dissertations addressed with specific aspects of Osorio Cesar's life. The con-clusions reached allow us to affirm that Osório Cesar exercised a significant agency as an intellectual in the different arenas investigated and that its contribution to historical studies in education, anchored in the frontiers between psychology, psychiatry and ped-agogy, is relevant to the understanding of the scenario of constitution of the art-educa-tion in the early 20th century / Esta pesquisa consiste numa investigação sobre a trajetória e a produção do médico pa-raibano Osório Cesar, apontado como precursor dos estudos acerca das conexões entre arte e loucura no Brasil, buscando identificar o espaço do tema “educação” no conjunto de sua obra. A análise dialoga com os pesquisadores e pesquisadoras que têm empreen-dido investigações orientadas para a compreensão da ação de intelectuais no campo da educação, considerando os desdobramentos mais recentes da história cultural e da his-tória política. Privilegiou-se a reconstrução da rede de sociabilidades e das incursões de Osório Cesar como pesquisador das ciências médicas, como um elaborador e difusor dos princípios fundamentais para a compreensão entre arte e loucura e da arteterapia; como entusiasta da educação das crianças, à época, classificadas como anormais e como elaborador e divulgador de proposições e ideias políticas. As fontes selecionadas no trabalho de investigação foram textos da imprensa, artigos em periódicos e livros pro-duzidos pelo autor ou por seus colaboradores e opositores, registros dos arquivos públi-cos (em especial, aqueles produzidos sob a égide do Departamento de Ordem Política e Social); além de teses e dissertações que trataram de aspectos específicos da vida de Osório Cesar. As conclusões alcançadas nos permitem afirmar que Osório Cesar exer-ceu uma agência significativa como intelectual nas diferentes arenas investigadas e que sua contribuição para os estudos históricos em educação, ancorada nas fronteiras entre psicologia, psiquiatria e pedagogia, guarda relevância para a compreensão do cenário de constituição do campo da educação no início do século XX

My dissertation analyses the evolution of the perception of creations of mentally ill, art brut or outsider art through a phenomenological point of view that focuses on the viewer and protagonists how permitted the discovery of these creations :psychiatrists (Hans Prinzhorn, Walter Morgenthaler, Leo Navratil, and others) Jean Dubuffet, Harald Szeemann and my own practice as curator through a case-study of the art & marges museum in Brussels /Ma thèse analyse l'évolution du regard porté sur les créations asilaires, art brut et outsider au vingtième siècle à travers une approche phénoménologique qui se focalise sur les protagonistes qui ont permis la découverte, la diffusion et la recherche de ces créations :psychiatres,(Hans Prinzhorn, Walter Morgenthaler, Leo Navratil, entre autres) Jean Dubuffet, Harald Szeemann. Ma propre pratique de curateur d'exposition est également abordée par le biais d'un case-study dédié à l'art & marges musée à Bruxelles / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

Orientador: Lucia Helena Reily / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T10:54:39Z (GMT). No. of bitstreams: 1 Amin_RaquelCarneiro_M.pdf: 92300981 bytes, checksum: e4b44687c03058d3351a26568c79047a (MD5) Previous issue date: 2009 / Resumo: Desde o século XIX até os nossos dias, houve crescente interesse por parte de psiquiatras, psicólogos e artistas plásticos em justapor a produção artística do louco e da criança. No Brasil o interesse remonta à década de 1920, com os estudos do psiquiatra Osório Cesar, baseados nas produções plásticas de pacientes do Hospital Juqueri e também com Ulisses Pernambucano, que em 1925 funda o Instituto de Psicologia do Recife. O presente estudo intencionou estudar o "Mês das Crianças e dos Loucos" - exposição organizada por Flávio de Carvalho e Osório César acompanhada por uma série de conferências, no ano de 1933, em São Paulo, no Clube dos Artistas Modernos (CAM) - do qual participaram artistas, médicos, intelectuais e educadores num momento de grande efervescência cultural modernista no país. O evento colocou em pauta os pontos comuns entre as produções plásticas da infância e dos doentes mentais. Discutiu prioritariamente o interesse que despontava entre alguns artistas plásticos e psiquiatras pela produção da criança, de um lado, e do louco, de outro, que este evento reuniu sob o mesmo teto. Este estudo se apoiou em metodologia documental para desenhar a estrutura do evento (como foi organizado o mês, quais coleções e obras foram expostas, e de que forma e quem dele participou) e seu impacto cultural. Interessou conhecer os argumentos que justificaram o evento, os princípios norteadores, o design da curadoria, a repercussão em jornais e periódicos do momento envolvidos e correlacionados à exposição. O estudo mostrou que este evento representou um marco em termos do encontro entre as áreas de arte, educação e psicologia e teve desdobramentos culturais significativos na cidade de São Paulo na década de 1930. / Abstract: The "Month of the Children and the Insane": reconstitution of the 1933 Paulista Exhibition From the nineteenth-century to the present day, there has been growing interest on the part of psychiatrists, psychologists and visual artists in bringing together the artistic production by the insane and by children. In Brazil, such interest emerges in the 1920s with publications by the psychiatrist Osório Cesar who studied visual arts productions of psychiatric patients from Hospital Juqueri, as well as Ulisses Pernambucano who founded the Instituto de Psicologia in Recife in 1925. This study aimed to investigate the "Month of the Children and the Insane" - an exhibition and series of conferences organized in 1933 by the artist Flávio de Carvalho and Osório Cesar in São Paulo at the Clube dos Artistas Modernos (CAM) - with the participation of artists, medical doctors, intellectuals and education professionals, at a time of great modernist upheaval in the country. The event illuminated common aspects of productions by children and people with mental illness. The discussion mainly circled around the emerging interest among some visual artists and psychiatrists in artwork by children on the one hand and by the insane on the other, which this event brought together under the same roof. This study used documentary methodology to design the structure of the event (how the month was organized, which collections and works were shown, and how they were presented, and who participated) and its cultural impact, We were interested in understanding the arguments that justified the event, the guiding principles, the curatorial design, the repercussions in current newspapers and in journals that were involved and related to the exhibition. The study showed that this event represented a breakthrough in terms of the coming together of the fields of visual arts, education and psychology, with significant cultural results for the city of São Paulo in the 1930s. / Mestrado / Artes Visuais / Mestre em Artes

Orientador: Lucia Helena Reily / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T11:48:58Z (GMT). No. of bitstreams: 1 Lorenzino_ArianadeAbreu_M.pdf: 9170082 bytes, checksum: a78f54026e94f2ab346d7b6e17a946e6 (MD5) Previous issue date: 2009 / Resumo: O Profeta Gentileza é conhecido na cidade do Rio de Janeiro por ter executado um trabalho de intervenção visual plástico de grande dimensão no espaço urbano. Profetizando entre os carros, nas avenidas e na barca que liga o Rio a Niterói, tornou-se uma lenda urbana a partir da década de sessenta até os dias atuais. O trabalho realizado por Gentileza nas pilastras, paredes e viadutos da cidade foi taxado de "pichação" pela companhia de limpeza e Prefeitura do Rio de Janeiro, a COMLURB, e seu trabalho, como "pregação" religiosa de um cidadão tido como louco e desvinculado do universo artístico. Esta atitude gerou um movimento público que exigiu o restauro depois que os escritos foram apagados. Um dos objetivos centrais deste projeto foi entender a dinâmica dos movimentos pelo reconhecimento do valor cultural de Gentileza, um artista das bordas, assim como os argumentos utilizados para determinar o que é ou não é arte quando a produção plástica acontece fora dos circuitos consagrados do meio. Foi realizada uma pesquisa de campo para conhecer o arquivo de Gentileza guardado pela família, bem como para coletar imagens dos esboços de Gentileza, fotografar as grafias nas pilastras e realizar levantamento de produtos que se apropriam da fonte gráfica de Gentileza e de seu discurso como slogan turístico e de marketing. A pesquisa permitiu desvendar os processos de constituição da poética de Gentileza no percurso de suas andanças a partir da análise plástica realizada sobre a obra e linguagem artística enquanto manifestação/intervenção visual no cenário urbano. / Abstract: The Prophet Gentileza is known in the city of Rio de Janeiro, Brazil, for having produced visual arts interventions of huge dimensions on the cityscape. He walked among automobiles along the city's avenues and on the ferry that crosses from Rio to Niterói, prophesizing, and so he became an urban legend from the nineteensixties to the present day. The work that Gentileza produced on viaduct pillars, walls and crossings of Rio de Janeiro was considered to be dirty scrawlings by the Rio de Janeiro urban cleaning company (Comlurb), and he was considered insane because of his religious ramblings, living outside mainstream society. When his writings were covered over with whitewash by the city cleaners, a civic movement was set in motion, demanding that his messages be restored. One of the main objectives of this project was to understand the dynamics of the movement for recognizing the cultural value of Gentileza as an outsider artist, as well as the arguments used to determine what is or is not art, when visual production occurs outside consecrated art circuits. Field research was conducted so as to study the archives Gentileza's family kept, and also to collect images of his sketches and jottings, photograph the graphic work on the viaduct pillars as well as to research products that have been designed based on the appropriation of Gentileza's unique graphic font, as well as of his discourse used as marketing and turned into slogans with tourism intent. Through visual analysis of his works and artistic language, we were able to uncover the constitution of his processes of visual manifestation/intervention on the carioca cityscape engendered in the course of his wanderings. / Mestrado / Artes / Mestre em Artes

My dissertation seeks to answer the following question: why did German Romantic composer Robert Schumann turn to the composition of sacred music in the early 1850s? From Schumann's earliest biographers to more recent commentators, critics have struggled to make sense of the composer's seemingly uncharacteristic production of a Mass and Requiem Mass, often explaining his work in these musical genres in terms of his struggles with mental illness and eventual institutionalization. I seek to revisit this question by taking a broader look at Schumann’s compositional output from his years in Düsseldorf, arguing that his interest in sacred genres reflected an active engagement with evolving questions of religious and national identity during these pivotal decades in the German states. To this end, I analyze three case studies. The first examines the tension between communal and individual understandings of Romantic religion through comparison of Schumann’s choral-orchestral Adventlied, Op. 71 and his song cycle Sieben Lieder, Op. 104. The second analyzes Schumann’s plans for a Martin Luther oratorio, which, although he never completed the project, reveal much about Schumann’s nationalist aspirations and understandings of German history and culture. The final case study looks at the Missa Sacra, Op. 147, highlighting Schumann’s investment in the history and future potential of church music. Examination of Schumann’s church music reviews from the 1830s and 40s, as well as his conducting and scholarly priorities during the late 1840s and early 1850s, suggests that Schumann esteemed and sought to contribute to the history of German church music. These case studies demonstrate how, using different means, Schumann was interested in and actively participated in larger currents of religious transformation in the mid-nineteenth century, transformations that were shaped by intersecting forces of nationalism, historicism, Romanticism, and the shifting roles and venues of religious identity and practice in German society and culture.

Submitted in partial fulfillment of the requirements for the degree of Master of Technology : Fine Arts, Durban University of Technology, Durban, South Africa, 2014. / The motivation for this research results from the notion that art-making is a regenerative enriching process that can counteract the sense of dislocation that one suffers as a consequence of depression. The study has two objectives: to open a discourse around the transformative function of art for a person suffering depression; and challenge notions of dominant constructed ideals of normality by presenting alternative realities of the performative mind. From the earliest memories of my life, I knew I did not fit in, I was not part of the crowd. Depression has been my companion ever since I can remember. The intention for this self-study is to interrogate the ways in which art can become a self-actualising process in coping with depression. The content for this research deals with narratives of the mind, that is, my understanding of who I am. I have therefore, positioned myself as the pivot for this research, drawing on authentic personal experiential knowledge. This autobiographical phenomenological study is thus a self-reflexive exploration addressing concepts of difference and belonging in relation to social constructs of acceptability. The study looks at contemporary concepts of multiple selves, relationality and the application of therapeutic methodologies within art practice. Art-making becomes games of truth, mind games that offer alternative realities and possibilities for the construction of complex, multi-faceted narratives as dialogues between the self and the inner critic. Of importance is the concept that self is not a fixed conclusive notion but one that continues to unfold, shift and become a multi-layered construct. These new narratives examine how creativity enables or creates a sense of belonging or re-positioning of one’s states of mind. The overall intention of the art-making process is its potential for transformative self-recovery processes – the re-construction of who we are, rather than how we are perceived. This research thus examines the notion of belonging in this world through body/land enactments of ritualised behaviour. The body as metaphor investigates rites of passage as the re-tellings of one’s story within specific body/site/space relationships. The ideal of connection to site is central as a means of renewal and recovery – these performative relationships become the creative meaning-making processes of locating or positionality. In support of these ideas and concepts, the work of Ana Mendieta, Magdalena Abakanowicz and Suzanne Lacy are considered in relation to ideals of positionality and as reflecting each artist’s ethics or paradigms of equality. Artworks are examined against the notion of locating oneself within social contexts. The aim is to question the intention and outcomes of art-making as social function in dealing with issues of marginalisation and stigma. Performativity, personal writings/reflections and memory drawings are the quintessential tools of my art-making. The written psychological renderings and unravellings of my mind, questionings that are both reflexive and critical, are intentionally presented in dialogical, conversational and direct modes. This personal tone aims to allow a scope into my mind – it is my perspective from the inside, my voice, my personal understanding of the potential of art as a metaphorical process of transformation. Lacy asserts that the artist becomes a witness, reporter and analyst for socio-culturally biased concerns; a performance gives public articulation and permission to speak out loud, gives voice to internal dialogues, reveal information that requires questioning and that personal individual experience has profound social implications. Lacy believes that it is an innate human need to reflect on the meaning of one’s life and one’s work (2010:176-177). Central to the findings of this study, are both the transgressive and transformative functions of art. / M